The musical language structure consists of living elements (because inside them the human`s musical language is synthesized), rich elements (because through them, people expressed their ideas and feelings), various elements ( as all cultures have formed and developed throughout history, their own and inexhaustible structures, transmitted through the ages, taken over, selected, enriched, extended). George Breazul was the first Romanian musician, who tried to conceptualize the embodiment of musical education through song, music play, and listening, starting from the specific acoustic universe, namely, children‟s folklore. Dmitri Kabalevski propsed the accomplishment of the musical education, based on the interpretation and listening of songs, belonging to a group of genders, which could represent musical styles and forms organized on themes. Originality and viability of the two visions, can be further noticed, because the logical organization of the acoustic material creates the circumstances for the listener‟s emotional auditory perception of the artistic message. The mutual interrelation and conditioning of elements which form the musical language generated the emphasizing and prominence of each one, within the musical speech, which is reflected in the educational process.
The issue of artistic education is not new, it is still concerned and concerned by many specialists. The newities emerged and imposed from time to time in the evolution of culture and education were and are determined by the scientific and artistic achievements, the enrichment of the possibilities of knowledge and valorization of the experiences and achievements, both from the field of artistic didactics, as well as from musical creation and interpretative art. The perspectives, especially in the last half century, aimed at increasing the knowledge of the child’s physical and mental peculiarities, his ability to form audiences, visions and chinestecs, and the fundamental aims pursued by specialists - teachers and researchers - have been and have continued to improve the contributions of music, literature and dance to the aesthetic and ethical education of children, to developing their sensitivity and intelligence, in other words, to the formation and harmonious development of the children’s personality. From the perspective of knowing and preserving the national identity, in the non-formal educational system existing in Romania, there are musical-literarychoreographic circles with folkloric specifics organized in the Children’s Clubs and Palaces. Also, through school curriculum (CDS), there are initiatives by music education teachers to capitalize on music-literary-choreographic folklore through new disciplines, giving pupils the knowledge of local, regional and national traditions.
The Romanian academic system must adapt to the changing demands imposed by the European educational standards, according to the conventions of Bologna and Lisbon. The compatibilisation of university paths in creating the curricula must consider the competences which are to be acquired. The responsibility belongs equally to the institutions providing academic programs, but also to the Romanian Agency for Quality Assurance in Higher Education. We intend to analyse comparatively both the constant and variable elements of the academic programs for the Music field. The efficiency of these programs is particularly reflected from the point of view of insertion in the labour market, so the direct beneficiaries are the graduate students.
The main aims of artistic education are almost similar in all European countries. Almost all countries mention “artistic skills, knowledge and understanding”, “critical appreciation”, “cultural heritage”, “individual expression/identity”, “cultural diversity” and “creativity” as objectives. However, “arts and permanent learning/interest” are mentioned only in 15 curricula. The various initiatives and recommendations for the development of artistic and cultural education in European countries are based on information on the establishment of national organizations and networks to promote artistic education and the development of partnerships between schools, artistic/cultural organizations and artists. Cultural identity as well as the development of creativity are a priority through such approaches.
The criteria recommended for the performance of internal assessment are the ones included in the national model for school inspection applied by the inspectors in the school inspectorate or the Ministry of Education (with subsequent names) who carry out internal assessments. Educational establishments can also decide on certain additional criteria - in line with the specific needs. All educational establishments must perform the annual assessment of activity, regarding school development, educational programs, curricular and extracurricular activities, quality of the teaching-learning process, human resources development, relations with the community and European dimension in the education offered. A tricky problem is represented by the specific assessment of Children Centres and Clubs that carry out non-formal activity, without school programs and handbooks approved by the Ministry of Education. Carrying out an analysis of the manner of assessing formal and non-formal educational units, the need to readjust the internal and external assessment was identified. At the level of school inspectorates, school inspection is carried out by a team consisting of specialised inspectors who know the specificity of those educational units. The main problem is represented by the external assessment carried out by ARACIP with the help of standard specific means: fields, indicators, reference descriptors and specific descriptors. Through the study performed, a series of proposals on the beneficial amendments for the quality assessment within Children Centres and Clubs is identified.